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Unit 10 - Music with Logic, No Emotion (Chapter 62 (New Sound Palettes:…

- - - - Next step in music evolution- not revolutionary
      - Expressionism
        
        Break from tradition
        
        Dissonance does not have to resolve to consonance
        
        Reject tonality (atonality)
      - ”Redefine” the new
    - - Dissonance can be the end of the piece
      - Maximum tension
      - Dissonance is standard
      - No need for consonance
      - Rejection of tonality, key
      - Method developed- 12 tone method
    - - USC- Southern California (1933) due to WW II
      - UCLA later
      - “method of composing with twelve tones”
      - 1940 US Citizen
      - Rejection of tonality
      - Three compositional periods
        
        2- Atonal-Expressionist
        
        3- Twelve-tone
        
        1- Post-Romantic
      - Composer, conductor, teacher in Vienna
        
        Students Berg and Webern
  - - - Genre: Song cycle (21 songs, 7 each in three parts)
        
        Part II
        
        He becomes ridden with guilt and wants to make atonement
        
        Part III
        
        He climbs from the depths of depression to a more playful mood, but with fleeting thoughts of guilt
        
        Then he becomes sober
        
        Part I
        
        Pierrot, a sad clown figure, is obsessed with the moon, having drunk moonwine
        
        His loves, fantasies, and frenzies are exposed
      - The Moonfleck (Der Mondfleck)
        
        Texture
        
        Complex counterpoint with canonic (strict imitative) treatment
        
        Form
        
        Rondeau text with poetic/musical refrain
        
        Harmony
        
        Harshly dissonant
        
        Timbre
        
        Pointillistic, flickering instrumental effects
        
        Rhythm/meter
        
        Very fast, sounds free-flowing
        
        Performing forces
        
        Voice with five instruments (piccolo, clarinet, violin, cello, piano)
        
        Melody
        
        Disjunct line, quasi-speechlike (Sprechstimme)
        
        Text
        
        21 poems from Albert Giraud's Pierrot lunaire, all in rondeau form
      - Date: 1912
      - Song cycle on 21 poems by Giraud (used German translation)
        
        Bizarre and macabre
        
        Mood changes: guilt, depression, atonement, playfulness
        
        Poems about Pierrot a poet/rascal/clown
      - Set for female vocalist and chamber ensemble
      - 21 poems broken down 3 groups of 7; each is a rondeau (dance)
      - Sprechstimme: a new vocal style in which the vocal melody is spoken rather than sung
      - Klangfarbenmelodie: each note of a melody is played by a different instrument
- - - - Various Cultures
      - Use of various sound sources
      - Innovative
        
        New scales & harmonies
      - Highly virtuosic instrumental or vocal effects
    - - Henry Cowell (1897–1965)
        
        Foreign scales with western chords
        
        Pre-cursor to ”prepared piano”
        
        Tone clusters for piano
        
        Group notes played with fist, forearm, and palm
        
        Plucking piano strings directly
        
        Combined Asian instruments with Western ensembles
        
        Music from Iran, India, Japan
      - Examples of Cowell
        
        Tiger
        
        Written in 1928
        
        For the piano
        
        The Banshee
        
        Eerie, creepy
        
        Ambient noise
      - Harry Partch (1901–1974)
        
        Proponent of microtones
        
        Developed a scale with 43 microtones to the octave
        
        Built/adapted instruments to play it
        
        Adapted Indian and African instruments to fit tuning
        
        Cloud chamber bowls- made glass
        
        Focus melody & timbre- not harmony
        
        Cone gongs (made metal)
        
        Gourd trees
    - - In 1938, invented the prepared piano
        
        Like gamelan music
      - Indeterminacy, aleatoric, and chance music
      - Cowell mentor
      - Explored the role of silence in 4'33"
      - Early interest in non-Western scales
      - Raised profound questions about the nature of music
      - Born in LA
      - Eternally questioning artist
    - - American
        
        Taught Colorado, NY, U of PA
      - Avant-garde composer
        
        Folk themes
        
        Non-western sounds
        
        Art/music tradition
      - Won Pulitzer Prize (1968) Echoes of Time and River
  - - - Genre: 16 sonatas, in four groups of 4, each group separated by an interlude
      - Melody
        
        Irregular phrases, small-range, undulating chromatic line
        
        Second section is more disjunct
      - Date: 1946-48 (first performed 1949)
      - Rhythm/meter
        
        Opening with regular movement, then changing rhythmic flow, seemingly without a clear meter
      - Harmony
        
        Minimal sense of harmony
        
        Dissonant ending
      - Texture
        
        The focus is on a linear movement
      - Form
        
        Binary structure (A-A-B-B)
      - Expression
        
        Evokes ethereal, otherworldly sounds
      - Timbre
        
        Piano produces percussive effects, both pitched and nonpitched
        
        Varied tone quality and pitches
      - For prepared piano
        
        Materials inserted between the piano strings
        
        Nails, bolts, rubber, wood, & leather
        
        Varied timbres
        
        Non-pitched
        
        Piano is percussion instrument
        
        Ethereal sounds
      - Binary Form (A-A-B-B)
        
        B- faster; more disjunct and accented
        
        End sustained dissonance
        
        A- rhythm; upper and lower line
  - - - Rhythm/meter
        
        Regular pulsations, no firm sense of meter
      - Harmony
        
        Atonal
      - Melody
        
        Highly disjunct
        
        Extended techniques (flutter-tonguing, glissandos, whispering)
      - Form
        
        Three part (A-B-A')
      - Genre: Song, from Madrigals, Book II
      - Expression
        
        Grimly playful
        
        Very animated
      - Date: 1965
      - Timbre
        
        Bright, hard, metallic quality
      - Performing forces
        
        Soprano voice, piccolo, percussion (marimba, glockenspiel, antique cymbals)
      - Text
        
        Text by Federico Garcia Lorca
      - Effects
        
        Glissandos
        
        Whispering
        
        Flutter tonguing- flute or piccolo
        
        Horse Neigh
- - - - A new, also scientific way to approach stable harmonies was found in process music which became minimalism
        
        Process Music- a few notes repeating over and over and often elaborating
      - Developed through technology into phase music
        
        Music recorded on loop
        
        Several copies played simultaneously
        
        Music Speed slowed
      - Rejection of 12 tone music
      - Phase music later by live musicians
        
        Reich: Piano Phase
      - The scientific nature of serialism appealed to some
    - - Wanted to write tonal music, pioneered minimalist music
      - Studied West African drumming and Balinese gamelan
      - Born in NYC, studied modernist composition at Juilliard
      - Judaic heritage central to many works
        
        Grammy - Different Trains
  - - - Date: 1987
      - Genre: Chamber work for guitar and tape
      - Melody
        
        Short melodic ideas repeated as an ostinato
      - Rhythm/meter
        
        3/2 meter, 12 "pulse-units" also presented as 6/4 and 12/8
        
        Regular rhythms with varying patterns and accents in syncopation
      - Harmony
        
        Diatonic, mostly static with some subtle shifts
        
        Predominant chords are C major, B minor, E minor
      - Texture
        
        Highly polyphonic, with canons
      - Form
        
        Through-composed
      - Expression
        
        An almost trance-like effect from the gradual addition and combination of regular patterns
        
        Striking moments created by subtle changes
      - Performing forces
        
        Live guitarist playing with 12 prerecorded tracks (2 bass guitars and 10 guitars)
      - Last of a series of works he called “counterpoint”
      - Chamber work for guitar and tape
        
        Twelve guitars w/ pre-recorded tracks layered within
      - Very different approach to harmony and complexity from goal-directed tonality
        
        Through-composed
        
        Polyphonic
      - The “hook” (short repeated musical idea) is less the initial musical idea, but how that idea is gradually combined with itself